DRAMATIST

1p., 12mo. Bifolium, addressed on second leaf to 'Rd. Wilson Esqr | Lincolns Inn Fields'. In good condition, with light signs of age and wear. The letter begins: 'My dear Sir | I have so much responsibility on my shoulders in the new farce that I really dare not venture into society on those days on which I perform in it.' If he had a holiday he would accept Wilson's 'polite invitation', 'but so situated I am sorry to say it is impossible'.

1p., 4to. Bifolium. Addressed on second leaf to 'Wm Campbell Esqr. | Brook Street'. In good condition, lightly-aged. The letter begins: 'Had I been aware, before dinner, of what our friend Geddes has just informed me after dinner, - that you are at present a Batchelor, you certainly should have had no excuse for not returning with him to a friendly knife & fork in Mount Street'. He asks him, if he is 'quite alone', to 'come immeditely & lecture him for his remissness - & drink to his better behaviour - we are quite en famille with only Geddes'.

An interesting collection, giving an insight into theatre practices in post-war Britain. Hartnoll is commissioned by the actress Freda Jackson, then at the height of her popularity, to produce an adaptation of the play, Jackson gets impressario Jack Hylton and producer Anthony Hawtrey on board, and there is the inevitable falling out between the actress and the author, with Macqueen-Pope, who is acting as Hartnoll's agent, playing the mediator, as matters become acrimonious.

144pp., 4to. Stapled into red card wraps, with typed label on cover. A carbon copy with label of the London typing bureau Curtis and Page. The play was published in London by Victor Gollancz in 1941, with a second edition from the same publisher in 1954.

In his obituary in the Independent, Lane was described as 'one of those writers whose published oeuvre is only matched by the supreme fiction of their own existence'. The present two pieces, both unpublished, date from his time studying theatre design at Wimbledon Art School, before 'launching himself across the globe, seemingly supported only by his verbal brilliance, good looks, perfect wardrobe and genius to amuse'. ONE: '"ANAGRAMS [no closing quotation mark] | A One Act Play - by Simon Lane'. [3] + 19pp., 8vo. Duplicated typescript on loose leaves held together by paper clip.

1p., 12mo. In good condition, on lightly-aged paper. Reads: 'My dear Young | Jack Calthorpe-Clayton is in the country: and I don't know when he will be home. He will be much grieved, I know, not to be here to welcome you back to our dingy old capital, when he knows of your apparition here | Yours very truly | J Palgrave Simpson'. The identity of 'Jack Calthorpe-Clayton' is uncertain. The name is certainly spelt thus, but may be a mistake for 'Colthorpe-Clayton'.

Programme, [20]pp., 4to, illus. printed wraps (partly in red). Directed by David Thacker, including excerpts from "The Golden Years", "Focus", "Death of a Salesman", Miller's adaptation of "An Enemy of the People", etc., etc. Programme signed by Arthur Miller himself ("For Esther | Arthur MIller). Enclosed Menu for dinner on 14 May 1989 at the Arthur Miller Centre for American Studies, signed "Warren Mitchell". This item derives from the Papers of Sally Worboyes who organised writing courses involving well-know TV personnel, actors, singers and writers as tutors at Fen Farm nr.

Programme, [20]pp., 4to, illus. printed wraps. Directed by David Thacker, including excerpts from "The Golden Years", "Focus", "Death of a Salesman", Miller's adaptation of "An Enemy of the People", etc., etc. Programme signed by Arthur Miller himself ("For Sally [Worboyesof Fen Farm Arts] | Arthur MIller) and several of the Cast inc. Susannah York, Timothy West, Connie Booth, John Shrapnel prob.others unreadable (but inc. playwright Brian Clark). Enclosed Menu for dinner on 14 May 1989 at the Arthur Miller Centre for American Studies, signed "Warren Mitchell".

Substantial TLS from Zeke Berlin to Marsh, 29 Jan. 1963, 2pp., sm. folio, giving information about rehearsals, the Theatre, the actors, commenting on the "idiom" in the play, music, characters. Play not mentioned but characters named reveal Anouilh's "Dinner with the Family".

One page, 12mo, 9 lines, In Roy's small hand, 3 Nov. 1950, in French. He is awaiting Marsh's sign, depending on him for how England will receive his work.

Total: 6 items, 1957-1961.One substantial ALS from Marc Camoletti to Edward Marsh, translator, 2pp. 4to, 25 Jan.

Total: 18 items, 1957-1961, including:One ALS, one TLS, one telegram from Marcel Achard to Edward Marsh, translator, only the TLS in French, others in English.Subjects: rights to translation of "Voulez-vous jouer avec moa" (gentleman's agreement for six months); this play "on appelle communément un 'théatre d'avant-garde'", requiring "excellent" actors like Peter Sellers; other information, including his agent's name; [telegram] "Waiting for you Stop Love".Memorandum of Agreement between Achard and Dr Van Loewen, agent, with Donmar Productions Ltd (New Theatre, London), not signed, 4pp., fol.T

Total: c.38 items, some more than one page, 1953-1968, 1984-1991, including:8 ALsS, Neveux to "Edward" [Marsh, translator], total 13pp., various formats, 1953-1961.

Total: c.21 items, 1977-1983.Four TLsS from Félicien Marceau to Edward Marsh, in French, (1978) saying that he'll go along with Marsh's proposals [about "L'Ami du Président"], reiterating two thirds for him; (1979) declining an adaptation for British television, anxious about the effect on "sa carrière théatrale"; (March 1983) having agreed film rights he is not free to authorise TV production; (May 1983) repeating what he understands about the cinema deal, and saying he'll be in touch on expiration.Eight copy TLs, some very substantial (one heavily worked), from Marsh to Félicien Marceau, 1

Total: c.43 items, some more than one page, 1953-1961, including:18 ALsS, TLsS and APCsS, to Edward Marsh, translator, total 26 pages/sides, various formats, with a telegram to him with note from him, and telegram from him to Edward Marsh.

TLS, 27 July 1971, one page, 4to, saying that the Camus Estate only want Robert Baldick to translate, giving background, so he's returning a script..

A very substantial TLS from Hauptmann to Marsh, 14 Dec. 1951, 2pp., 4to, in English, recalling their first meeting, commenting on Marsh's autograph collection from that time (1921), and responding to finding Marsh had adapted his "The Rats". He gives detailed response, complimentary but constructive.

Total: 5 items, all 1979.Postcard and TLS from Armand Lanoux to Edward Marsh, in French, (13 June and 27 July 1979) about the production in England of "notre fresque télévisuelle" "Zola ou la Conscience Humaine". He has asked his wife, Cathérine Tolstoi-Lanoux, to send Marsh "les deux pieces radiophoniques".WITH:Manuscript Draft, heavily worked over, letter from Marsh to Lanoux, 3pp., 4to, in French, 5 June 1979, broaching the question of an English production of the "Zola" programme (BBC etc).AND: ALS from Renée [de Conquele?

The letterhead includes a facsimile of Sims's signature. Six lines, on one side of the card. Addressed at foot to 'Thos Hutchinson Esq.' Fair, on aged paper, with strip of gummed paper from mount at head of blank reverse. He sends 'a thousand thanks' for Hutchinson's 'kind letter on Sep 2', which he would have answered earlier, had he not been 'away at Liverpool'. He concludes: 'Your good wishes lay upon my table to welcome me home.'

1p., 12mo. Fair, on aged paper and worn paper. He is 'exceedingly obliged' to Barnett for 'procuring for me the freedom of Her Majesty's Theatre'. He asks if he will 'receive an official commemoration from Mr. Lumley', or whether he should write and thank Lumley on the strength of Barnett's note.

2pp., 12mo. Bifolium on mourning paper watermarked 'JOYNSON | 1874'. Good, on lightly-aged paper. The letter, signed 'George Rose', covers both sides of the first leaf, with the following written lengthwise on the recto of the second leaf: 'Yrs very truly | [signed] Arthur Sketchley'. He informs Frith that the 'long impending blow has fallen' on him, and that his 'very dear brother died on Wednesday last & will be buried tomorrow'. He would 'willingly send on some autographs', but cannot lay his hand on any. 'I am sorry to be able only to send as pr opposite page', i.e.

4pp., 12mo. On aged paper, with minor traces of gum from mount. Taylor begins: 'My dear Charles Neville | I was glad to receive your letter, for it showed that the seed I had taken pains to sow had not fallen, as most seed so sown in the theatre does fall, upon an ungrateful soil.

4pp., 12mo. Bifolium. Good, on aged paper, with remains of stub along one edge. Written in a difficult hand. Taylor begins: 'Dear Mr Mewburn, I shall not be at Sessions [as a barrister on the northern circuit] any more. I have just accepted an appointment as legal Assistant Secretary to the Board of Health, and I enter on the duties of the place on Monday. The salary is £500 per: an: to begin with, with the prospect of increase.

3pp., 8vo. Bifolium. Good, on lightly-aged paper, with remains of stub along one edge. Second leaf inserted into a paper windowpane mount. Written in a hurried and difficult hand. Taylor writes that he wishes to have a portrait put into a case 'by the workman you employ for such work'. He gives instructions, concluding 'The portrait I think the most satisfactory that has yet been taken of me.' The National Portrait Gallery possesses an albumen carte-de-visite of Taylor ('1864 or before') by John & Charles Watkins.

4pp., 12mo. Bifolium. Good, on lightly-aged paper. The first page headed 'Act III', and the whole tightly-written and filled with deletions, interpolations and marginal notes, providing a valuable insight into the creative process of one of Victorian England's most successful dramatists. The last page breaks off: 'Handeside confesses his own desperate attachment. Markham <...>'. 'A Sister's Penance' was a great success, with 83 performances at the Adelphi between 26 November 1866 and 2 March 1867.

2pp., 12mo. Good, on aged paper. He writes to decline Carpenter's 'flattering' offer: 'I now find my acceptance of an office in your Society though purely honorary, would be apt to be misinterpreted [...] I have another reason - that I am taking some part in endeavouring to form a great Author's Society of another kind, and it would look rather <?> and impudent to be playing the fiddle in all parts of the orchestra.'

4to, 1 p, 21 lines. On creased and lightly-foxed paper, with a couple of closed tears (not affecting text, which is clear and entire). May refer to the 1928 revival of van Druten's play 'Young Woodley' (previously banned by the censor), or (which is more likely) to his 'After All' (1929).

On a piece of wove paper roughly 4.5 x 9 cm. Good, clear signature on lightly aged paper. Reads 'my dear Sir, | Yrs always truly | [signed] P. Hoare'. Reverse reads '<...> am at a loss how to answe<...> | <...>ing the progress of the Anna<...> | <...>- opportunity of asking "Ho<...> | <...>t of the Elgin Marbels, whic<...>'.

One page, creased and marked, text in pencil but legible. An explanatory docket in another hand: "Epigram by Moncrieff - a blind man's writing". The Epigram reflects this situation, text "translated" below in another hand: "Oer me, you've this advantage, great indeed | What I may write at pleasure you may read | But still I've one advantage in Fate's spite - | You cannot make me read the stuff I write!"

One page, quarto. Good, on lightly aged and creased paper, with strip from mount adhering to right-hand margin. He is pleased to be of assistance to General Ponsonby and his officers, and is happy to agree to the authorisation for Banso, as far as it concerns him. His English rights have been purchased by Curtis & Brown of London, to whom application must be made. He does not think they will ask for any remuneration. Asks the recipient to pass on his respects to the general, and in a postscript wonders whether he can tell him a good story concerning a lion hunt.